Budhha 1 Movie Songs Free Download
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The demo was originally released on the label Filter Records. In the early days of the band, Hoppus worked at the record store The Wherehouse, and became friends with his supervisor, Pat Secor. Hoping to start his own record label, Secor pulled money from his savings and helped finance and produce Buddha. The demo was recorded live at local Santee studio Doubletime, comprising nearly all of the songs the trio had written up to that point. Hoppus and friends Cam Jones and Kerry Key photographed the cassette inserts, and the original packaging was compiled by the band and Hoppus' family. Upon completion, the demo was locally distributed to several San Diego record stores, and was available for purchase at early concerts. Buddha helped the trio cement an audience and was a deciding factor in their signing to local label Cargo in 1993.
Hoppus and DeLonge took the songwriting for their first legitimate release very seriously. The two strove for perfection writing songs that they felt would be relatable.[11] Blink also recorded joke tracks, as they felt that, in addition to the serious songs, "it was almost as important to make people laugh." DeLonge recalled that the band spent more time at the end of production on Buddha trying to perfect the joke songs rather than their serious tracks.[11] The band's main influence on Buddha, according to DeLonge, was the Descendents. "I was trying to emulate that band. Really punchy guitars, fast, simple and formulaic nursery rhyme love songs," he said in 2012.[15]
Challe quit his partnership in 1993 and returned to Paris where he subsequently opened the internationally acclaimed Buddha Bar. ... Similarly to Café del Mar, Buddha Bar also released CD compilations featuring "lounge", "world" music, a successful enterprise that suggests the striking inequalities associated with the commodification of Third-World art: whereas cassette tapes of Pakistani singer Nusrat Ali Khan are sold in India for about US$1, the same songs remixed within a deluxe Buddha Bar CD are priced in the West at about US$50.[1]
Challe compiled and produced the first two Buddha Bar albums. The series thereafter continued with different DJs, including DJ Ravin, Sam Popat, and David Visan (son of Buddha Bar founder Raymond Visan).[6] The Buddha Bar has also released some original music for its albums, specifically the songs "Buddha Bar Nature" and "Buddha-Bar Ocean", composed and produced by Arno Elias, the composer of "Amor Amor" from Buddha Bar 2, and Amanaska. This release included a DVD of nature and ocean footage directed by Allain Bougrain-Dubourg.
This paper intends to understand music as a form of cultural expression that has enabled mobility to Dalit-Bahujan and their cultural production. This cultural production can be seen in the form of popular songs that are widely circulated among Dalits and is part of their religion, identity, as well as a cultural assertion. Tathagata Buddha songs, which this paper studies, has been specifically enabling for Dalit women as it gives them not only a sense of religiosity but it also opens them to the possibility of rationalizing their beliefs and practices. The paper will bring up an ethnographic account of some of these Dalit women singers and look into some of their composition and songs that have a specific invocation to Gautam Buddha and of political icons like Babasaheb Ambedkar, whom they revere. A study of Tathagata Buddha songs and Bhimgeet can provide an insight into how music has departed from being just an aesthetic sensibility to a language of resistance against the oppressive caste order. The paper also explores the material dimension of Tathagata Buddha songs understanding its circulation, production, and platforms through which these are popularized.
Yama Buddha, a well-known Hip Hop artist from Kathmandu, Nepal, has a number of songs that are well-liked both in Nepal and abroad. Some of his best songs are "Aama," a moving ode to his mother, "Yo Prasanga," about the difficulties of love, and "Challenge," which inspires listeners to overcome challenges.
Yama Buddha frequently explores social issues, personal suffering, and self-reflection in his music. In "Antya Ko Suruwat," he considers how transitory life is, and in "Jutta Maa," he takes on the problem of corruption in Nepal. His music is renowned for its straightforward and unvarnished lyrics, which are delivered in a distinctive manner that combines traditional Nepali music with modern Hip Hop sounds.
Other noteworthy songs from Yama Buddha are "Pagalpan," which explores the madness of love, "Ktm Grime," which pays homage to Kathmandu's streets, and "Think Smart," which exhorts listeners to maintain their concentration on their objectives. Yama Buddha has established himself as one of Nepal's most well-known Hip Hop singers with his distinctive sound and thought-provoking lyrics, motivating a new generation of musicians to follow in his footsteps.
Yama Buddha, a hip hop artist from Nepal, has been causing a stir in the music business with his distinctive fusion of modern hip hop and traditional Nepalese sounds. His 2012 CD, "Ekadesh," demonstrates his range of abilities as a rapper, vocalist, and songwriter.
The reflective and stimulating "Yo Prasanga" is one of "Ekadesh's" notable songs. The song examines the difficulties Yama Buddha has encountered throughout his career as he raps about his rise from modest beginnings to fame.
Yama Buddha and Turkish clarinetist Husnu Senlendirici worked together on the song "Saathi" in 2013, which combines hip hop and Middle Eastern music. The song is evidence of Yama Buddha's aptitude for fusing several musical genres to produce something wholly original.
Overall, Yama Buddha's most recent works demonstrate his artistic development and eagerness to try out various genres and sounds. Fans all throughout the world are still inspired and entertained by his music.
Tathagata Buddha songs refer to a set of singing practices, hymns, and other musical performative dimensions that are particularly dedicated to Buddha, his preaching and the sense of emancipation that the emergence of Buddhism imbues. The widespread circulation of Tathagata Buddha songs is particularly popular among Dalit women who are active producers as well as the recipients of these songs.
The practice of Tathagata Buddha songs is particularly popular among converted Buddhists, who have adopted Navayana Buddhism as their religion. These songs are also chanted as part of Katha Pathan, a cultural performance in which the life and philosophy of Buddha are read out in public.
Tathagata Buddha songs are not the traditional protest songs, but are largely devotional in nature centered on the practices of Navayana Buddhism. Their historical narrative responds against caste oppression and the contribution of Babasaheb. The songs are widely circulated on YouTube channels such as Samata Awaz, Awaz India, Bahujan TV, etc and social media too.
Tathagata Buddha songs and Bhimgeet have given a sense of emancipation for many Dalit women singers like Dharmacharni Pragya Kirti, Shweta Sakhya, among others. By reworking on the lyrics of those songs that largely drew from Hindu mythology, the Dalit neo-Buddhists have used the Tathagata Buddha songs as an expression of resistance by imbuing in them historical and social messages.
Besides Buddha, many of these songs invoke other social reformers who are revered within the Dalit community. Even the reverence shown towards Tathagata Buddha is with specific reference to the Brahminical social order that he had questioned towards the fourth century BCE. The songs have specific reference to social exclusion which the Dalit community has faced and the sense of emancipation that Tathagata Buddha songs often imbibe. One of the popular songs has the following lyrics:
In North India, particularly Uttar Pradesh, many of these songs are circulated by way of booklets written by Shanti Swaroop Baudh, Budh Sangh Premi, Shayar Devidas Gulde, S.K. Roshan, Bhikhu Pragya Deep, and others. Dalit women have also been active agents in the production of these songs. Many poets and singers like Premlata, Shobha Baudh have published booklets of their songs.
A fairly popular Dalit singer from Hapur in western UP is Pramita Gautam aka Dharmacharni Pragya Kirti. Her voice is representative of many local voices for whom singing Bhimgeet and Tathagata Buddha songs has been an act of resistance and a means of empowerment.
These Buddhist songs have played an important role in reworking the identity of Dalit women and their position in society. This change in the status of Dalit women singers has been possible because of the Buddhist philosophy, which is based on the principles of equality, including that of gender, in society. Also, Buddhism does not have a stratified society based on caste; nor has it scriptures like Manusmriti that relegate women to a secondary position in society.
From medieval saints like Chokhmela, Eknath, Tukaram and Kabir, to the Dalit neo-Buddhists today, all have relied on the power of music and poetry to successfully voice their concern against the darkest practice of social exclusion in Hindu religion. Their songs of resistance against the graded inequality of the caste system find echo in the musical practices of Dalit Navayana Buddhists, who have drawn inspiration from the rich musical tradition of Bhakti movement to carve out a distinct cultural space for themselves.
Conversion to Buddhism has enabled the Dalit community to challenge the exploitative caste practice that has scriptural sanctions within Hindu tradition. These songs have worked differently for Dalits, especially women, as it has enabled them to question the authority of Manusmriti that gave them a demeaning position in society. These songs also have their cultural significance in that they have allowed the Dalit community to re-work and re-imagine their identity with a sense of dignity.
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